We Are the Stories We Tell Ourselves

nicole-connToday I was watching some of an interview I did with the filmmaker Nicole Conn and I found myself smiling.  One of the great pleasures of this documentary has been getting to know women like Nicole: women who are smart, talented, and beautifully unique.  Nicole is not categorized as a “mainstream” filmmaker yet, but she is an important one, and in a way she personifies why I am making this doc.  She personifies what I value: she is true to herself.  She is true to her vision.

She is true to her vision.

She loves old black and white movies.  She believes in romance.  She is a gay woman.  Her calling and talent is filmmaking, so she has made three seminal films about passionate relationships between lovers that happen to be female.


Somehow her films, as wildly successful as they are (and they are WILDLY successful) are still not considered “mainstream.” So I have to ask myself, what is “mainstream”?  What is it about one narrative (a narrative that is not inclusive of the reality of a very large percentage of the world’s population, mind you) that continues to have a hold over what we as a society deem “normal”?

Without finger pointing or getting political, I think it is fair to say that it is a mode of storytelling that is on the verge of becoming irrelevant.

Why should lesbian cinema be marginalized?  Or “faith based” films, “Black” cinema, “Latin” cinema, “Asian” cinema, “Indian” cinema or “Women’s” cinema for that matter? What IS normal in a world full of variation? Why must we categorize everything and what is “mainstream” when the internet exposes us all to the cultures of the world?

What is “normal” in a world full of variation?

Let’s take a field of wildflowers as a nice metaphor. Is the daisy the predominant flower and therefore the most valuable?  It’s a nice daisy, but I think we would all agree: it’s beauty is in the eye of the beholder.  What we appreciate about the field of wildflowers is its variation, it’s limitless, imaginative variation.

cady-and-meera-menon-%22equity%22The process of making this documentary has exposed me to more kinds of storytelling and people than I ever thought possible.  It has been so fulfilling to watch the art films of German filmmaker Diana Cignoni; the transgender series, “HerStory,” directed by Sydney Freeland; and the powerful short film “And Nothing Happened” by Naima Ramos-Chapman that explores the surreal after-life of a rape survivor.  I think I’ve become a better person by watching Meera Menon’s powerful “Farah Goes Bang,” and the off-beat martial arts short film action fantasies of Toy Lei. And the documentaries exploring American India life by Anne Makepeace are nothing short of breathtaking. These women are visionaries.

I’m gambling that I’m not alone in this quest to expose more women’s stories to the world.

Watching these films and more have exposed me to worlds I did not know about and gave me insights that broadened my understanding of the world. One thing I learned is that categorizing films into “women’s stories” is a neat and tidy way to keep women from making their stories.  Who likes to be limited, judged as “less than,” laughed at? I also learned that being a visionary means holding your ground: not letting the words of others push you away from what you “see” in your mind as worthy.

Being a visionary means holding your ground.

I made this documentary because I want to give women and girls HOPE, ENCOURAGEMENT, and TOOLS. Something they can watch quietly in the middle of the night to hear other women talk about how they work without being judged, talked down to, or lectured at. I want all women who desire to tell a story to feel heard and seen, validated and understood.

Today, Sunday September 25th, I am beginning a crowdfunding campaign on Indiegogo to help me finish what has become a five hour documentary.  If you feel so compelled, I would be deeply grateful for any small support you can give.


Click HERE to check out our Indiegogo pitch video!

I’m gambling that I’m not alone in this quest to expose more women’s stories to the world.



It’s been an amazing journey.  Thank you for joining me every step of the way.




The Pain of Creating

From the desk of Cady McClainI’m going to be honest with you. Creating is not easy.

Making anything, even a quiche for goodness sakes, take effort, thought, concentration and caring.

Making a film? Fogettaboutit.


Since I’ve started on this journey I’ve had a handful of breakdown/breakthroughs. I’ve cried wondering why some men in show business can be so thoughtlessly dominating. I’ve cried wondering why some women can be so competitive and cruel. I’ve cried from feeling a lack of support. I’ve cried wondering why I chose such a difficult subject.

I’ve cried the hardest realizing how so much of all of this is really about my mother.

Mom… Truly, the most powerful influence in my life was that nutty, brilliant, madwoman. She who often gave up on herself, but who (despite her harsh words sometimes) never gave up on me.

Her pain at feeling like there wasn’t a place for her voice in the world sunk deep down into my bones. Her fear at putting her work out there echoed into my heart. Her loneliness, her anger at men, her wounds… they have been my encyclopedia of womanhood.

The other day I turned to Jon and said, “My mom at my age was massively overweight, fighting cancer, a heavy drinker, and unemployed. She had all but given up on herself in every way. I could hardly blame her.  Life had ostensibly beat the crap out of her from an early age. So when I live a life completely differently, without any other woman who I am holding onto for guidance or support, I am not only breaking the mold of what I was taught being an adult woman is, but I am forming an entirely new one completely on my own. And that, sometimes, is very scary.”

However, for me, there is no option but forward. Because one day not so long ago, I realized I can only go in one of two directions: toward drinking, overeating, giving up on my art and myself and getting sick; or toward health, spirituality, and continuously risking to make the art that calls to me. That’s it. One way or the other. Because it’s the way my DNA is coded, the way the story came down to me.

I can choose: one way or the other.

Sometimes I feel guilty for being a survivor, for not following her path of suffering. Who am I to succeed, to thrive, to be well?

I am my mother’s daughter. And I must believe that despite her pain and loneliness, she would not want for me what she endured.

I am my mother’s daughter. And I must believe that despite her pain and loneliness, she would not want for me what she endured.

So, I hang onto the motto: NEVER GIVE UP. Because by not quitting, by staying on the path, by gluing myself to the task at hand, I know I am evolving myself into what my soul wants me to be. I am the EVOLUTION of my mom, and all the women in my family before her on both sides. I know she, and every one of those women, would want me to be more than a survivor.

They would want me to shine like an exploding sun.

And I, in turn, want that for every one of you. Because we are all capable of great things, and of lifting up this beautiful, troubled world up, together.

We CAN ALL be heroes… one day at a time….



Can You Live Without Comparison?

Me and my Co-editorAs some of you might know, for the past year I’ve been working on a documentary about women directors. It’s kept me a hella busy, so I apologize for not blogging more!

One of the directors I spoke to (Kimberly McCullough)  had an interesting insight. She said that making independent film is a lot like starting a business… over and over again.  In my experience that is absolutely right.  Every project you make is it’s own entity that you hope has a long life of it’s own from inception to distribution.  But you are always starting from the beginning, and that’s hard work.

So it’s really important if you think you want to make a documentary or any kind of film to think about the whole journey.

Ask yourself, “Who is this story for, really?”

This will guide you through every step of the decision making, and get ready because there are tons of decisions to be made.

If I’m brutally honest with myself,  I started out making this film for me, because I felt really lonely as a director that happened to be female. Every festival I took my short films to was crammed with dudes. In 2015, I didn’t see any women treated like “up and coming visionaries,” only young men were. One time I was given a “producer” tag when I was the producer, writer, AND the director, as well as costume and production design… In short: it was my vision! My film! And someone doing the tags at the film festival basically couldn’t believe it.

Winning Moment

(note: the pink sticker, qualifying me as a “producer only.”)

This, as you can imagine, sucked. And then I won an award for “Best Comedy Drama Short!”  Ironic to say the least.

I recall looking at the few women who were at these festivals. I can’t say they looked that happy about what they were having to deal with either, which was, if it boils right down to it, a basic lack of imagination.

Men aren’t the only people who can have a vision and execute it. What’s so hard to imagine about that?

Because of these experiences I realized that I couldn’t just make the film for me or even just for women in the field, because the issue isn’t relegated to women directors.

It’s much, much bigger than that.

The issue is one of perception. How we as a culture SEE women.

Sometimes it feels like any time a woman really steps out and stands up for something, like crabs in a barrel, there are thousands of people (men AND women) who are ready to tear her down for her smallest faults or imperfections.

This really needs to stop. We are all so much better than this.

One woman’s success does not mean your failure.

In fact, it means there is a strong possibility that YOU COULD DO THE SAME THING.

Bethany Rooney, a director of over 200 episodes of television, gave me this wonderful quote: “Can you live without comparison?” Think about it. Instead of comparing, how about we get inspired by great women? Instead of thinking, “Oh I’m not good enough,” saying, “What do I need to do in order to be my greatest self?”

Here’s a fantastic video to help you start to see just how powerful and amazing women can be! Yes, someday, YOU could join this amazing list of women who have overcome incredible obstacles.

And how wonderful would that be?


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Begging for a Spoof

As some of you know, there is a very large movement afoot to make the stories that come out of Hollywoodland more interesting.   And by more interesting, I mean less reductive of a woman’s existence. Women in films (and most TV) often end up playing “the wife/the mother/the girlfriend” etc…  roles limited to extensions of a man’s existence. Either that, or they are roles described as being “empowering” but really only parts where women are yelling a lot, complaining a lot, naked in an embarrassing way, or doing bad things without consequence.

Here’s a terrific example: real casting descriptions of women’s roles, as read for the first time by women. https://www.youtube.com/watch?v=KQNLs94_grk 


Now a new film by Terrance Malik is coming out, called “Knight of Cups” and although the trailer is stunning and I’m sure the movie has much to offer, the description of it is just begging for an SNL spoof.  I found it in a recent blog on IndieWire that called it “a reminder of all that is wrong in Hollywood.”

“‘Knight of Cups; follows writer Rick (Christian Bale, The Fighter, ‘American Hustle’) on an odyssey through the playgrounds of Los Angeles and Las Vegas as he undertakes a search for love and self. Even as he moves through a desire-laden landscape of mansions, resorts, beaches and clubs, Rick grapples over complicated relationships with his brother (Wes Bentley) and father (Brian Dennehy). His quest to break the spell of his disenchantment takes him on a series of adventures with six alluring women: rebellious Della (Imogen Poots); his physician ex-wife, Nancy (Cate Blanchett); a serene model Helen (Freida Pinto); a woman he wronged in the past Elizabeth (Natalie Portman); a spirited, playful stripper Karen (Teresa Palmer); and an innocent Isabel (Isabel Lucas), who helps him see a way forward.”

Kind of the same old thing, right?  I thought it would be fun to take the exact same writing and do a female version, by changing nothing but the pronoun “he” to “she” and the men’s roles to women’s roles. I did not change the descriptions or the grammar. Check it out:

“‘Queen of Cups; follows writer Sarah (Natalie Portman, V for Vendetta, Black Swan, ‘Leon the Professional’) on an odyssey through the playgrounds of Los Angeles and Las Vegas as she undertakes a search for love and self. Even as she moves through a desire-laden landscape of mansions, resorts, beaches and clubs, Sarah grapples over complicated relationships with her sister (Mila Kunis) and her mother (Deborah Messing). Her quest to break the spell of her disenchantment takes her on a series of adventures with six alluring men: rebellious Bill (Liam Hemsworth); her physician ex-husband, Charles (James Franco), a serene model Harry (Robert Pattinson), a man she wronged in the past Anthony (Shia LaBeouf), a spirited, playful stripper Carl (Taylor Lautner), and an innocent Jonathan (Michael Sera), who helps her see a way forward.”

What do you think? Would you go see a film about this woman? I think I would. In fact, I would LOVE to see it. It could be even more interesting with a gay woman or a trans woman in the lead,  but even a story about a hetero woman and her quest to be awakened by love would be a big step in a more interesting direction. I am aware that not every film must be a political statement, but we’ve been seeing this story in the film by Malik over and over again, just with a different director. “Successful ‘man versus himself’ tale finds our hero in a big city, detached from caring via over-indulgence. The women he meets are a continued distraction, except for one who acts as his road to reattachment of his Self through love.”


Let’s flip that script, yeah?

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How to Make a Documentary Part 1

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Director Lesli Linka Glatter” from “Seeing is Believing: Women Direct”

So many people have an idea for what would make a good doc, but not that many people act on it. If you are one of those people considering getting into the field of documentary films, here’s some advice from the frontline!

First, you need to have an idea that inspires you so much, you are willing to spend a full year or more of your life on it. That’s really important. You are going to eat, sleep, and dream about your subject. Even worse, your wife or husband and all your friends are going to hear about it ad nasuem because it’s pretty much going to become an obsession. So choose wisely what subject you are going to spend endless amounts of time with.

Finola Hughes directing a film
Director Finola Hughes on set, from “Seeing is Believing: Women Direct”

For me it was women directors, partly because I am one and was feeling like an endangered species. Women directors have been up until recently practically invisible. Now, in part because of the EEOC’s investigation into charges of discrimination against women filmmakers in Hollywood, there is a lot more media attention on the subject.

Although there are some important changes starting to happen, it is the larger, overall understanding of what women are capable of that is still stuck in the past. For example, just the other day I was talking to a very nice fellow, telling him about my project.

He said, “Oh, I didn’t know women directed movies. How cool!”

Screen Shot 2016-02-04 at 1.06.41 PMI reminded him that a woman won the Oscar for directing a few years ago, thinking he must’ve recalled that historic moment.

He said, “Oh right. What was her name? She’s the only one that directs movies, right?”

I am positive he is not the only person who thinks this.

I think it’s fair to say that most people have no idea how many women are out there fighting for respect and a place in creative leadership positions. Positions not only in the film and television industry, but in finance, tech, the sciences, and academia. Women worldwide are still dealing with a pervasive idea that we are limited in our capabilities based on our gender.

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Director Leah Meyerhoff from “Seeing is Believing: Women Direct”

This is the perception that I, and many others, are trying to change. People like directors Lesli Linka Glatter, Leah Meyerhoff, and Sarah Gavron all care about making sure other women in the directing field have opportunities they they themselves have had to fight tirelessly to achieve. I’ve had the privilege to interview them and can tell you, they really are doing everything they can to help change the landscape of bias and transform it into opportunity for women.

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Director Sarah Gavron from “Seeing is Believing: Women Direct”

When I think about the years of time these women (and women like them) have spent working to make it in their field, women who could just focus on themselves and their careers but who still do everything they can to help others, it inspires me.

I know I can spend at least a year or more of my life on a documentary about these women. I know that my film, no matter it’s level of success, will ultimately be an effort full of integrity and passion, meant to help uplift all people, but especially those of the female gender. For me, that feels like something worthy of my time here on the planet.

What do YOU feel passionate about changing in this world? Think about it. Are you willing to spend a year of your life thinking about it? Then I bet it would make a really interesting documentary.

Next up: figuring out HOW TO TELL YOUR STORY.

Photo by Jimmy King

Tribute to David Bowie

Rarely am I shocked when a public figure dies. They seem to go often these days, and I think of myself as kind of immune to it. But when I saw the news that David Bowie died yesterday morning I was in a cab on my way to JFK to catch a flight to London.

“Oh my God, David Bowie died!” I exclaimed out loud to the taxi driver.

See, I had a strange encounter with David Bowie when I went to see him in concert in Battery Park in NYC in 2002. It was something I never forgot.

Before the concert began, I had the fortune to go “behind the scenes” to the back area where refreshments and such were being offered. (The friend who took me had access to these kinds of things.)

Anyway, I was waiting around for him to come back with a beer, just standing there looking at the trees, when I turned to see my friend rushing towards me.

“Cady!” he said, “David Bowie was asking about you!”


“Yes! He wanted to know who the girl with the green hat was!”

I was wearing a little green hat, some kind of sweater, jeans, and platform boots. I had long blonde hair almost down to my waist at the time. I probably looked like some kind of character out of 1960’s London.

“What did you tell him?”

I think I was relegated to “some actress.” I wished he’d said I was a poet. Actors always get the bad rap. Still, I was pretty thrilled. David Bowie noticed me. I instantly turned into a groupie.

Here’s what I looked like back then. At my best, I was pretty cute.Screen Shot 2016-01-12 at 5.00.54 PM

Just before the show started, we all gathered around David’s trailer. By this point I was  ready to do whatever was necessary to make David happy, and I mean anything.  He had noticed me! What else did a girl need? (Insert older Cady eye rolls here).

When he emerged from his trailer I noticed he was actually quite small. This was something that had never occurred to me before. That such a big star would be so petite.

As he came down the steps I was determined to make sure he knew that I was there. (Groupie mentality in full gear, as I mentioned. Who was I to get in the way of what Mr. Bowie wanted?) I waited until he was just about two feet away from me, right in my path, and I stepped in front of him.

“Hello,” I said.

“Hello,” he said.

Then something quick passed between us, or rather from him to me, that felt like this: “In another time, another place, I might ask you to wait for me after the show. But I’m a different man now. A married man, and I don’t do that anymore. So thank you, I’m flattered, but I have to pass.”

I felt all of that in just a moment. It was both gracious and clear. So I stepped aside and let him pass.  I honestly don’t know where I got the nerve to get in his way in the first place, really. What cheek!

During the show my friend and I got to be in the orchestra section with all the “Very Famous People” and we acted like the big, stupid David Bowie fans that we both were: singing along with the songs, sitting on the wall between us and the crowd, waving our hands up in the air. I even noticed David glancing over at us once or twice as if he were wondering, “Are those two going to be a problem?” until he realized that we just loved the music so much. When he saw that, and I believe that he did and understood what we were really there for, I think it lifted him a little bit. Because I saw a tinge of the young Bowie come out. A “spark” that was clearly a part of his younger art and self. It was dazzling.

Where he’s looking and gesturing was right where we were sitting, up high on a wall. I know, I know… I sound like a crazy fan…. but we WERE!

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This was just before he had heart surgery in 2004, so there’s a good chance his calmer demeanor was a reflection of the health issues he was dealing with, it’s possible is all I’m saying.

Of course it’s possible this was all in my mind, total projection, and I was just a fan and he was just a superstar. Of course, if he hadn’t ASKED about me, that’d be what it was. But he had asked. So it felt like a little something more.

But as someone who has walked around naked in my apartment to Bowie music blasting from cheap speakers, I like to think he appreciated the rock and roll gesture.

Meanwhile, I share with you one of the most gorgeous fan tribute videos ever made. It made me weep, it is so perfect and beautiful. What’s amazing is that it was made BEFORE Bowie died, so he got to see it, and called it:

“Perhaps the most poignant version of the song ever created.” ~ David Bowie.

Clearly, I’m not the only one who was touched by the man and his music.

Now I shift my younger instincts into something else, my work. I hope that I can be as risk-taking and redefining of my Self as he was: willing to let everything that once worked GO in order to experiment with the next thing that feels RIGHT.

Because we aren’t here forever, that’s a fact.

Safe travels, Spaceman. Hope I get to see you again somewhere.



Some Great Advice

Shana is an amazing woman. She’s the very first director I called to talk to about this documentary and she was immediately supportive. As you might recall from an earlier post, we got on Skype immediately (the “I look like shit,” “That’s ok I look like shit, too” convo) and started brainstorming about what this project could look like.

I flew to New Orleans, where she’s currently living and scouting for her latest film, to interview her. Here’s a little taste of what she had to say. I think this is good advice for any woman looking to go into fields of work that are currently dominated by men. Until the issue of gender bias is resolved and our minds are able to think in a new way about where leadership and creativity come from, we have to learn to be stronger without losing our kindness and compassion for others.



Inspirations for 2016

So much fun to be asked to guest blog! Thanks Lorien Eck, for being such a lovely woman and artist, and for inspiring me to take some time out to talk about my own inspirations this year! (Check out her art!)

What Inspires You? A guest blog with Cady McClain


Ms in the Biz

Lips IllustrationSuper excited to share with you my article “Why You Should Hire a Woman Director” on “Ms in the Biz!” In it, you’ll find lots of fun videos and some thoughts on hiring practices that I think might surprise you!


And if you like my article, tell me about it! I love to hear what YOU think about what’s going on in the world these days!

Thank you!


“The Intern” Takes You Away

I recently finished watching “The Intern” by Nancy Meyers. Granted, it was on a plane and the sound and picture resolution were not what you would get in the theater, but I have to say as far as movies go, it was pretty damn good. I’d give it four and a half stars. The missing half star is only because it’s a highly commercial film, and although it digs into some really important topics, it skims just above the surface of the deeper and more painful aspects of gender bias, keeping the viewer from having to look too hard at themselves or society. But is that such a bad thing?

I know immediately some people out there will say, “Well of course you liked it. It’s a chick flick and you’re a chick!” But the fact of the matter is: you see more of Robert De Niro in this film than you see Anne Hathaway. And his character actually has the line, “I hate to be the feminist among the two of us but…” The film seems to say, “Hey ladies, don’t hate the good guys! Some dudes are really great, and lots of them really love and support women who want to be or are successful.” Now this certainly isn’t a message I disagree with, but it left me wondering why it needed to be said in the first place. Just how much “male bashing” is going on out there? Do women really need to be told “men are not the enemy?”

IF this is the case, it makes me wonder why. And it worries me. Because no group is going to rise based on the diminishing of another group. Life just doesn’t work that way. The fact is: those who scream and point their finger ALWAYS create suspicion in others. This, however, doesn’t mean they are always wrong. It just means that there is a way to talk about bias and “bashing” anyone isn’t one of them. On the flip side, was this ultimately a way to tell the patriarchs of the entertainment industry, “Don’t be threatened by us gals on the rise because us gals really need your love and guidance?” I don’t know… but it did make me wonder.

Screen Shot 2016-01-03 at 1.12.59 PMI also wonder if some women hate “chick flicks” because they have heard them demeaned so often that they don’t want to be associated with something that some people look down on. But who are “those people” and frankly, what should anyone care what “they” have to say? If you think a movie is good and you like it, what is more important than that? (And if you don’t agree with me, I hope you agree at least that it’s ME you disagree with, not who I “represent” in some generalized way.)

Speaking of generalization, why do Nancy Meyers movies have to get stuck in the “chick flick/women’s movie” genre in the first place? Why does her work have to minimized in that way? She makes good, successful films that a lot of people pay money to watch, no matter what you think of their deeper message. Films that have interesting male characters and strong male lead actors as well as very strong female characters and actors. And the point of view of the film doesn’t feel particularly “feminine” in my opinion, as if it suffered from another way of minimizing the import of films called the “female gaze.” Her films just feel like “fantasy” to me. A particular kind of fantasy, but one that I think can appeal to men as well as women. I’d call it “the good life” fantasy.

(I realize this isn’t much of a review, classically. But I am trying to put my oar in the waters of review-land one way or the other because I think more voices of humans-who-happen-to-be-women need to be out there talking more about the stories we are consuming as part of our mass culture. So love it or hate it, I’m basically putting my money where my mouth is.)

Screen Shot 2016-01-03 at 1.36.41 PMSo (hoping that you forgive the fact I did not finish college) let me touch on the classic review principals as I understand them via Google.

ACTING: The film is very well acted. I felt that the actors were committed to their roles and the worlds that they inhabited. I did not sense cynicism or commenting coming from any actor. As an actor myself, this tells me that the actors themselves were feeling really happy to be there and enjoying the script, the director, and the general environment. I think this is really important because it says that the film was probably made in a positive environment, not under duress. This tells me it was a good production with a capable leader at the helm (none other than Nancy Meyers herself.)

WRITING: Nancy Meyers is terrific writer. I challenge anyone to write as neat a script and as fun a plot as she manages to come up with time and time again. Although I question some of her choices regarding how much the lead female comes to depend on the lead male, I give her the benefit of the doubt that she really gave it a lot of thought before she sat down to give us her ideas, so the least I can do is take some time to consider them. “Women do NEED men, just as men NEED women,” I think that was pretty much what she was getting at.  And that’s not necessarily a terrible message. I think she really addressed a lot of gender based issues and how much almost everyone has trouble wrapping their heads around the shift of women from secondary citizens to leaders equal to men. Everyone but Robert De Niro, the old white feminist. I know a few old white male feminists myself, so I know that his character isn’t all fantasy. But he isn’t all reality either.

Screen Shot 2016-01-03 at 1.40.12 PMCOLOR AND TONE: Although somewhat bright and glamorous looking, the overall color scheme fit the “youthful” tone that the film seemed to strive for. The trees were in bloom, the office was light and airy… even the trip to a warehouse seemed clean and organized. Apparently part of a “new life” that Robert De Niro’s character suddenly finds himself living in at the ripe old age of 70. That said, there was no poverty, no homeless, no rugged reality other than that one of the characters, a 20-something intern guy, couldn’t afford the rent in New York City. But don’t worry, he gets rescued. Basically there’s almost no suffering other than that by overwork. Every character was “on the way up” and enjoying good luck and the fruits of their labor. Again, this makes it a fantasy film, but it reminded me more of films of the 30’s and 40’s that were created to help distract people after the depression. Escapism in the guise of modernism. I’m not complaining.

MUSIC: The music felt like classic “rom com,” unobtrusive for the most part, and lighthearted although strangely familiar. It guided you through the film, without lyric, allowing the scenes to be viewed without too much “let us tell you how to feel” blasting through my earphones.  At times it felt slick, but it never made me feel like I was being talked down to, which not all films manage, musically. Again, it kept me floating in the pretend bubble of the film’s created world.

Screen Shot 2016-01-03 at 5.40.13 PMAlthough it may sound like I’m bitching in some kind of super-subtle way, I really don’t think that the film was dishonest. At no point did the film try to force me to feel like this was a “reality” I had to accept. Instead it showed the pretty New York full of possibility that inspired me to move there in the first place: the cleaned up brownstones where a single family lives, the leafy green trees bursting with green over a city block in the springtime, the big warehouses in Brooklyn full of busy young people working hard at making the world a better place. A city full of hope and possibility.

That’s a not always a fantasy New York, but I’d rather remember it that way than as it tends to be most of the time: an overcrowded metropolitan area that’s now too expensive for the middle class to live in, not to mention the working class.  A place where people yell at you if you walk too slow, or too fast, or for no reason at all. A place where the winter is cold and unforgiving and the summer equally hot and unforgiving. A place that runs on aggression and competition, merciless to the weak, the poor, or the unlucky.

Screen Shot 2016-01-03 at 1.39.43 PMI think you’ll agree with me that life can be hard in any town so a little fantasy can go a long way. It’s delicious to look at the lithe and lean Anne Hathaway in her fantastic wardrobe, living in her gorgeous brownstone, being driven to work in her BMW. Why not allow ourselves the taste of a cupcake?

Speaking of which, I must make a stop at the original Magnolia Bakery when I’m next in New York City. The frosting always tasted the best there.